Could anyone hook me up with something awesome?
Neat-O.
try this:
Yeasayer-All Hour Cymbals-Retail-2007-JUST
Artist.......: Yeasayer
Album........: All Hour Cymbals
Label........: We Are Free
Genre........: Psychedelic Rock
Catnr........: WRF02
Source.......: CDDA
Rip.date.....: Dec-14-2007
Str.date.....: Oct-22-2007
Quality......: VBR/44,1Hz/Joint-Stereo
Url..........:
http://www.myspace.com/yeasayertrack title time
01. sunrise 04:07
02. wait for the summer 04:53
03. 2080 05:24
04. germs 03:13
05. ah. weir 01:21
06. no need to worry 05:27
07. forgiveness 03:40
08. wait for the wintertime 04:52
09. worms,waves 04:07
10. red cave 04:57
11. untitled (hidden track) 04:59
Runtime 47:00 min
Size 68,4 MB
Release Notes:
Over the past few years, a few of the most talked-about
indie bands have been those making music with an
ahistorical sense of mythic drama. TV on the Radio,
Celebration, Grizzly Bear, and Animal Collective, among
others, have been variously and inventively appropriating
rock'n'roll's roots in ritualistic sounds, working toward
individual aesthetics that merge mutual appreciations for
surface and tradition. By and large, they draw upon ideas
of the pre-modern (multi-part harmonies and chants drawn
from religious rites, a fixation on the unseen power of
the natural world), and express them through ultra-modern
forms (synthesizers, electronic textures, heavy echo).
Perhaps unconsciously, these groups are working in the
shadow cast by the late 1970s and early 80s collaborations
between Brian Eno and David Byrne, primarily My Life in
the Bush of Ghosts and the Talking Heads albums Fear of
Music and Remain in Light. By surrounding Byrne's rural
preacher impression on "Once in a Lifetime" with angelic
new age synthesizers and ethereal harmonies, for instance,
the duo pulled an affective charge from seemingly
incompatible elements. The co-presence of Byrne's anxious
sermonizing, a West African rhythm section and Eno's
stylish ornamentation signified not only the spiritual
transformation of Byrne's character, but also an important
shift in pop�s approach toward its own past along with
non-Western forms of music.
Brooklyn's Yeasayer are the latest entry to this group of
Byrne disciples, and one of the better bands to put a new
spin on his polyrhythmic convulsing. The band gained
recognition earlier this year for their fantastic first
single "2080", possibly because of its sonic similarities
to Midlake's buzzed-about 2006 single "Roscoe". Both share
a woozy, woodsy ambience, but where "Roscoe", set in 1891,
was nostalgic for a rustic world, Yeasayer gazes ahead--
and not optimistically. "I can't sleep when I think about
the times we're living in," Chris Keating sings,
continuing, "I can't sleep when I think about the future I
was born into." After two preternaturally smooth choruses,
the band lives up to its name. All new age elements
temporarily vanish, and the group breaks through into
communalism. The sudden, fervent "yeah yeah!" pulls from
the same crowded Anglo-ethnic trough as the Arcade Fire,
Animal Collective, and Danielson, and establishes the
band's own link between the ritualistic and the
futuristic.
All Hour Cymbals, the band's LP debut, is packed with
similar moments of pan-ethnic spiritualism, filtered
through walls of echo and layers of gossamer synth. The
album opens on "Sunrise" with a gospel-tinged a cappella
vocal that wouldn't sound out of place coming from TV on
the Radio's Tunde Adebimpe and adds handclaps and austere
piano. The mix is gently, gradually taken over by a
droning synthetic ambience and Keating's vocals, which
express his desire to merge with nature. The song's
falsettoed chorus is then fleshed out with a vague Far
Eastern vibe, that same sense of foreign tension
reappearing later in "Worms".
This sense of apprehension lends the album a dramatic
flair, best realized in "Forgiveness", which-- while
reclaiming the synthetic handclap and keystroke
incantation for the band's unnatural revival meeting--
calls into question the time-honored tendency to
appropriate religion for personal gain. Guitarist Anand
Wilder sings: "I've come to beg for forgiveness/ So
forgive me," yet after pleading that "I've tried to teach
by my doing, your undoing" he admits, "But my time will be
your ruin." Elsewhere, "Germs" augments its earthly
paranoia ("What's hurting me when I breathe/ Perhaps it's
just the mold on the ceiling") with a sonic mood somewhere
between Celtic and Balkan, and "No Need to Worry" is a
buzzing cathedral of dread, its title only serving as an
attempted calming influence.
The peak of All Hour Cymbals' tangible sense of unease,
the pummeling "Wait for the Wintertime", is Yeasayer's
Black Sabbath moment, transforming their chants into a
dark, persistent march. Although it's not clear whether
the song is the band's own origin myth, about the
apocalypse, or both, the lyric, "On a cold day, you can
walk forever/ On a cold day, nothing's gonna stop us," is
charged with dread, only bolstered by the atonal
saxophones in its climax. There and elsewhere, Yeasayer
channel both a dystopian science-fiction sensibility and
deep appreciation for the natural world, employing a wide,
international range of sounds. The result is a unique form
of indie rock world music that resists stepping into the
essentialist, ethnocentric traps consistently tripped by
high-minded hipsters.
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